Fathers of Nations: Episodic Approach, Chapter Four

 CHAPTER FOUR
Episode 13: Effects of Playing Host
Summary pages 46-48

After leaving the Seamount hotel abruptly in the middle of the interview with Dr. Afolabi, Ms. Fiona McKenzie heads back to the office to meet her boss, who had requested her presence in the office. She had estimated it would take her an hour, but reality hit her when she realized it was not going to be possible due to the recent phenomenon of roadblocks erected everywhere, and now she felt she would probably need two hours to be in the office.

 

Her first stop came at Arch Number 22, christened by the successor of the coup on July 22, 1994, that saw the legitimate and undisputed president of Gambia being ousted from power by the military. Here the guard ordered Ms. Fiona McKenzie to get out of her taxi and join a queue of pedestrians, which she felt was a blessing in disguise since the requirements were minimal. She therefore sailed through without difficulty.

 

Her taxi driver, a university graduate with a degree whom the local job market had failed to absorb in the profession he had trained for, on the other hand, was not lucky with the guards. He disappeared behind a wall, where the guards turned him upside down and shook loose change out of his loose robes because of ‘faulty brakes’ and this took eternity, making the driver wary, watchful, and angry.

 

When Ms. Fiona McKenzie finally arrives at the office, her boss informs her that he is pulling her out of her current assignment at the summit, where she was supposed to cover the proceedings of the summit at the Pinnacle Hotel, because the leave-on-loan arrangement that she had applied for was due to begin the following week and began on that day instead. Officially, Ms. Fiona was now on a two-year loan from the Gambian News to the Voice of America. Ms. Fiona McKenzie returns to the office to meet her boss, who had asked her presence in the office, after abruptly leaving the Seamount hotel in the middle of the interview with Dr. Afolabi. She had calculated it would take her an hour, but reality hit her when she realized it would not be possible owing to the latest phenomenon, barriers erected everywhere, and she suddenly believed she should have needed two hours to be in the office.

Her first stop was at Arch number 22, which was named after the successor of the July 22, 1994 coup that saw the military depose Gambia's lawful and uncontested ruler. The officer instructed Ms Fiona McKenzie to exit her taxi and join a line of pedestrians, which she saw as a blessing in disguise given the modest requirements. As a result, she breezed through with ease.

Her cab driver, a university graduate with a degree who had been unable to find work in the profession for which he had educated, was not so fortunate with the guards. He vanished behind a wall, where guards flipped him upside down and shook loose change out of his loose robes due to 'faulty brakes,' which took an eternity, making the driver suspicious, watchful, and angry.

When Ms Fiona McKenzie finally arrives at the office, her boss informs her that he is pulling her out of her current assignment at the summit, where she was supposed to cover the Summit proceedings at the Pinnacle Hotel, because the leave on loan arrangement that she had applied for was supposed to start the following week and instead started on that day. Ms Fiona was officially on a two-year loan from the Gambian News to the Voice of America.

Analysis

Themes

The focus of the episode shifts to Ms Fiona Mackenzie, and it satirizes the repercussions of bad leadership, which results in unneeded obstacles that are unconvincing to road users. In addition, the Arch number 22 is used to symbolize the date July 22, 1994, when the lawful and uncontested president of Gambia was deposed by the military; the term Number 22 in its name related to the day. On July 22, 1994, the legitimacy was established. In addition, the arch number 22 is used to represent the date of July 22, 1994, when the military overthrew Gambia's rightful and unquestionable ruler. ‘The phrase "Number 22" in its name referred to the date. On July 22, 1994, the legitimate and undisputed president of the Gambia fell from power in a military coup.’ Page 46. Furthermore, the consequence of poor leadership may be seen in the fact that university graduates, represented by the taxi driver, are unable to find work in the profession for which they have trained. ‘Wary and watchful, he was part of a growing phenomenon: taxi drivers with degrees whom the local job market had failed to absorb in the professions that they had trained for.’ Page 47.

Stylistic Devices

We are given a description of the taxi driver using vivid description. ‘Not lucky was her taxi driver, a youth made to seem older by his loosely fitting robes.’ Page 46. When he claims that the cab driver was rattled and turned upside down, the author employs overstatement, exaggeration, or hyperbole. ‘He disappeared with his taxi behind a wall, where guards turned him upside down and shook loose change out of his loose robes first before they let him go." Page 46. Furthermore, the claim that barricades were everywhere is exaggerated.  '... roadblocks. They were everywhere now.’ Page 46. This artistic element contributes to the portrayal of guards as corrupt and bullies. At the same time, there is also usage of dialogue, which comes out through the interaction between Ms. Fiona and the taxi driver, on the same line, check out direct speech as a literary device used in this episode.

Character & Characterization

Ms. Fiona's interaction with the taxi driver depicts the taxi driver as sarcastic while also highlighting sarcasm as a stylistic technique. ‘Do you know what I am going to do on my way back?" "I'm going to ask the guards I bribed to arrest me for bribing them.’’ There is anger in that sarcastic remark, she thought. …' page 48. Ms. Fiona is depicted as perceptive in the artwork, as she notices that the taxi driver is angry and sarcastic, while the taxi driver is depicted as angry. Ms. Fiona is portrayed as a virtuous character since she prohibits the taxi driver from accepting bribes. "Know that giving bribes is as much a crime as taking them.’ Page 48

Role of the Character in the Episode

Ms. Fiona and the taxi driver's duties are to create the theme of weak leadership and corruption while also building each other's character traits.

Episode 14: The New Assignment
Summary pages 48–57  

The episode focuses on Ms. Fiona's interactions with her new boss at the Voice of America, Mr. Robert Manley, and her new colleague, Mr. Nicolas Sentinel, a communication technician in residence. First, we are informed about the United States policy that prohibited the Voice of America (VOA) from broadcasting in America, which sounded strange given that other national international media houses, such as the British Broadcasting Corporation (BBC), were broadcasting in their home countries; thus, this prohibition struck the overseas audience as peculiar.

This harmed the VOA's image, and something had to be done to improve things. This was why the VOA was now doing things it couldn't before, such as hiring non-Americans in senior VOA positions, such as Ms. Fiona, a Gambian who joined them in the aftermath of these changes.

Mr. Robert Manly, the Bureau's Chief, greets Ms. Fiona and leads her up two flights of stairs. When they arrive at his office, he informs Ms. Fiona that she must begin working immediately because they have a breaking story that cannot be delayed. Ms. Fiona is introduced to a newcomer from America, Nicolas Sentinel, a communication Technician.

Ms. Fiona gladly accepts the terms of employment; apparently, she will be earning a good salary at VOA, which dwarfs the meagre salary she had been receiving from the Gambian News. The Summit of African Heads of State will begin shortly at the Pinnacle Hotel, according to breaking news. Mr. Nicolas Sentinel, her communication technician, walks her through what he has learned from recording private conversations with the analyzer known as the silent listener, which can listen in on cell phone conversations. He then proceeds to play a portion of the early interview conversation between Dr. Afolabi and Ms. Fiona, as well as other conversations gathered by the silent listener.

Thanks to the silent listener, Mr. Sentinel has deduced that there is a man referring to himself as the guide conversing with the other four men at the Seamount Hotel. They don't know what the other four men's mission is at this point. Then Ms. Fiona is taken to her new office, which she adores, and Mr. Manley, their boss, rushes to a meeting at the ministry of foreign affairs, leaving Ms. Fiona and Mr. Nicolas Sentinel to get to work.

Analysis

Themes

The episode emphasises the issue of invasion of privacy, which is built through Mr. Nicolas Sentinel, who can tap into private conversations. ‘Goodness me, you eavesdrop on private conversation! What happened to privacy?’ page 52. The theme of change is also evident when we learn about the US policy that prohibited the Voice of America from broadcasting in their country, necessitating changes such as hiring non-Americans in senior positions. ‘This was why the VOA was now doing things it could not have done before. Employing non-Americans in senior VOA positions was one of them. Following this change, Ms. McKenzie, a Gambian, was joining the VOA bureau in Banjul. Page 48. The plight of African workers is also highlighted in this episode, as we learn that Ms. Fiona's new salary at VOA dwarfs the two beans she was previously paid by the Gambian News. ‘As part of her leave-on-loan arrangement, the VOA would be paying her salary, totally dwarfing the two beans the Gambian News had been paying her.’ Page 49. This depicts the low pay that natives receive for those who are fortunate enough to find work.

Stylistic Device

On the other hand, the author's use of dialogue remains a dominant stylistic device. Ms. Fiona, Mr. Robert Manley, and Mr. Nicolas Sentinel's conversation highlights the theme illustrated above by using this literary device. We also learn from Ms. Fiona's conversation that she is morally upright when she wonders what happened to privacy. This is when she discovered the silent listener was eavesdropping on private cell phone conversations. It also depicts her as remorseful when Mr. Nicolas sentinel plays her recording in which she refers to her then-boss as a silly boss. ‘She slapped herself on the brow for that indiscretion. I shouldn’t have called him silly. Page 55. Ms. Fiona also comes across as a grateful person through dialogue when she thanks Mr. Manley for the lovely office she is offered. Mr. Manley, it’s lovely. Thank you.’ Page 56. It is ironic that the guide believes the mobile phone is more secure than the hotel phone, even though it is not. There is also dramatic irony when we readers know who the guide is and what their mission is, which Ms. Fiona and her colleagues at Voice of America are unaware of symbolism is also used when the silent listener represents the fastest-growing new technology. As a result, building on the concept of new technological advancement Personification is also used extensively in this episode, with the silent listener personified by being given human characteristics. For me, "The Silent listener does." Page 53. Meet your office, Ms. McKenzie.' Page 56.

A description given of Mr Nicolas Sentinel is said to be wearing rounded off with wire rimmed Gandhi's glasses, alluding to one of the greatest human rights activists and leaders of India, Mahatma Gandhi. ‘He gestured at the youth in army fatigues, rounded off with wire-rimmed Gandhi glasses.’ Page 49-50. It's worth noting that this is also an example of a vivid description of Mr. Nicholas Sentinel. ‘Next, he adjusted his Gandhi glasses around his ears.’ Page 51. A vivid description is also portrayed in the episode when we are given Mr. Roberts Manley's description: ‘Trim and tanned, he looked even younger than his youthful forty years.’ Page 49. There is also a description of Mr. Nicolas Sentinel. ‘First, the youth craned his neck up, sticking it out like a rooster ready to crow. Next, he adjusted his Gandhi glasses around his ears. He then turned his hands' palms out while still holding them in a clasp, loudly cracking his knuckles while, it appears, avoiding injury to himself. Page 51. Also, as illustrated above, the description above highlights other literary devices such as the figure of speech smile, '...like a rooster,' and historical allusions. Another figure of speech presented in the episode is a metaphor: ‘Embarrassment had reddened the youth into a ripe tomato.’ Page 52. The Mr. Nicholas Sentinel is compared to a ripe tomato in this context.

Character and Characterization

Ms. Fiona McKenzie comes across as respectful in this episode; after learning what Mr. Nicholas does, she now respects him after probably underrating her as a youth, implying that she is judgmental. ‘… Ms. McKenzie had new respect for the youth she had just branded a buffoon.’ Page 55. She is also portrayed as tactful when he deftly avoids Mr. Nicholas' compliment that she is the best reporter in town. Mr. Manley says you are the best reporter in town.' To relish it inwardly and therefore completely, she pretended she did not. This is why she asked a totally unrelated question.’ Page 50. This also implies that Ms. Fiona is pretentious. Mr. Nicholas, on the other hand, is portrayed as keen and observant because he can tell from Ms. Fiona's accent that she studied in Britain. ‘Did you study in Britain or something? 'I mean, your accent!' page 51. Mr. Robert Manley is playful, he refers to Mr. Nicholas as a cowboy and tells Ms. Fiona and Mr. Nicholas as he leaves for the meeting that he is giving them free rein.

Role of Character in the Episode

Ms. Fiona, Mr. Manley, and Mr. Nicholas' roles in this episode are to develop the aforementioned themes, literary devices, and character traits.

Episode 15: Dr. Afolabi the Guide Saves the Day
Summary pages 57–65

Dr. Afolabi had just gone to bed and had been awake for nearly an hour when he received a phone call from Ms. Fiona McKenzie, who is at the Seamount Hotel reception and would like to see him. Dr. Afolabi becomes enraged because it is late, and in order to punish her, he decides to make her wait long enough. When he finally decides to go and meet her after some time, Dr. Afolabi is unable to find her at the reception, and he is about to return to his room, thinking that Ms. Fiona may have decided to leave, when a woman begins screaming and calling out for help. The woman was about thirty years old, and a man was apparently abducting her. Dr. Afolabi attempts to bring these incidents to the attention of the clerk at the hotel reception, who appears unconcerned and is busy reading a novel. The clerk claims he cannot intervene because it will cost him his job, even though he has five children and a wife to support. The clerk goes on to say that the woman and man involved in the incident are drunk and will leave before Dr. Afolabi notices.
The woman continues to scream as the man tries to calm her down as he leads her to his room. At this point, the woman addresses Dr. Afolabi by name, allowing Dr. Afolabi to identify the lady as Ms. Fiona. Dr. Afolabi steps in and confronts the man, boldly ordering the abductor to release Ms. Fiona. The abductor then introduces himself as Leo the Liberian Mauler tries to beat Dr. Afolabi as a child, but Dr. Afolabi defends himself, and Leo the Liberian Mauler is defeated and left lying on the floor, and the scuffle ends.
Dr. Afolabi takes Ms. Fiona to his room, and she does not object. The whole ordeal with Leo, the Liberian Mauler, had left her in shambles. Ms. Fiona notices a scrape on Dr. Afolabi's face as a result of the scuffle and offers to apply something to it after cleaning it with her nail polish. After that, a bandage is applied to it, and Ms. Fiona excuses herself into the bathroom to fix her dress.
Dr. Afolabi now undresses, grabs a spare blanket and bed-cover, and decides to spend the night on the couch. When Ms. Fiona emerges from the bathroom, a conversation ensues in which we learn that Dr Afolabi and his American wife Pamela divorced a year ago. A phone call interrupts their conversation. Ms. Fiona notices that Dr. Afolabi's mood has changed after picking up the phone and inquires as to what is causing him to be upset. Dr. Afolabi claims it was one Chineka who claimed Dr. Afolabi rebuked him for being drunk even though all he had was a Pepsi. He's curious how Pastor Chiamaka obtained his suite phone number.
As the episode concludes, Ms. Fiona discusses his colleague's machine and the silent listener's ability to gather information about an anonymous man calling the four other men. This causes Dr. Afolabi to pay attention because he is concerned that the youth (Mr. Nicholas Sentinel) who Ms. Fiona was telling her about might have identified him as the guide. He pretends not to yawn to conceal his alarm. Ms. Fiona spends the night in Dr. Afolabi's suite, sleeping in his bed, while Dr. Afolabi sleeps on the couch in the suit's seating room.

Analysis

Themes

This episode reveals Dr. Afolabi to be the AGDA guide: 'Dr. Afolabi started paying her greater attention. He feared the youth she was describing might have uncovered him. To hide his alarm, he yawned.’ Page 65. This continues the theme of secrecy. The plight of women is highlighted in this episode when Ms. Fiona is assaulted by Leo, the Liberian mauler. ' He pulled one of her ears. ‘Now you heard me, right?’ He hoisted her up in the air and, like a predator carrying away prey, headed for the elevators.’ Page 58. This also depicts the theme of immorality, as ladies of the night are referred to as Joy, slang for streetwalker or prostitute. 'How come the Liberian Mauler addressed you as Joy instead?' It's slang for a streetwalker.' Page 63. The plight of workers is also discussed in this episode, as Ms. Fiona claims the Voice of America pays significantly more than the local employer, the Gambian News. ‘If you must know, the VOA pays much better than the Gambian News... When the loan ends, it will be, Thank you very much, Ms. McKenzie, but please go back to the Gambian News tomorrow and start eating boiled dirt for breakfast, lunch, and supper again.’ Page 65. This reflects the deplorable working conditions, particularly for those employed by local institutions. The theme of marriage is also explored when Ms. Fiona inquiries about Dr. Afolabi's personal life after rescuing him from Leo the Liberian Mauler. ‘You are acting like you might have a wife. No, she divorced me. You studied in America at a marriageable age.’ Page 62. 

Character and Characterization

In this episode, the author continues to use dialogue extensively as a literary device. The phone conversation between Dr. Afolabi and Ms. Fiona depicts Dr. Afolabi as forgetful. ‘He heard the voice before, but as he could not remember whose it was, he asked,’ Who is this?’ page 57. It also suggests that he is erratic. ‘Anger was creeping into his tone.’ Page 57. Ms. Fiona, on the other hand, comes across as desperate in their conversation when she cries out for help. ‘She was crying with even greater desperation now.’ Page 59. She is also perplexed when Ms. Fiona inquiries about Dr. Afolabi's wife, Pamela. ’Do you?’ ‘Did she?’ page 62. Ms. Fiona is also perceptive, observant; she notices Dr. Afolabi's mood shift after receiving a call from Pastor Chiamaka. ’ What is the matter?'… You seem upset suddenly. Who was on the phone?’. Page 63.

The conversation between the Seamount hotel clerk at the reception and Dr. Afolabi, on the other hand, portrays Dr. Afolabi as caring; he is concerned about a woman calling out for help, but the clerk is unconcerned. ‘Your guests are having a fight over there.’ Page 58. He is also brave and daring when he orders Leo the Liberian Mauler to release Ms. Fiona. He defied her kidnapper. ‘You, that’s enough,’ he told him. ‘Put her down right now.’ Page 59. Dr. Afolabi is also humorous; his sense of humour is evident when he jokes with Ms. Fiona about not letting the alcohol dissolve his face as well. ‘Don’t let it dissolve my face off as well, okay?’ page 61. When he takes Ms. Fiona into her suit after 'rescuing' her from her abductor, he is welcoming and hospitable, even allowing her to sleep on his bed while he takes the couch, which portrays Dr. Afolabi as caring at the same time. He is suspicious, which is highlighted when he appears to doubt Chiamaka's innocence, claiming that he was drinking a Pepsi rather than alcohol. ‘He wriggled in his improvised bed to protest his innocence against that claim.’ Page 63.

The clerk at the Seamount Hotel reception desk is cautious; he is unconcerned and makes no attempt to save Ms. Fiona. He claims that if he intervenes, he will lose his job, even though he has a family to support. ‘Why should I want to risk losing my job over these two strangers?’ page 58. Dr. Afolabi, on the other hand, is abused by Leo the Liberian Mauler, who refers to him as a little boy. ‘A brash brat here is asking for it. ‘Little boy, didn’t your mama tell you never to be rude to your superiors?’. Page 60.

Stylistic Devices

This episode makes use of vivid description, which helps the reader understand what the author is trying to convey. ‘Her legs started kicking wildly, scissoring the air in frantic strokes.’ Page 58: ‘The Liberian Mauler had left her in a state of disarray. Hair stuck out from her head in tufts, like straw from a sloppy bird’s nest.’ Page 61. There is use of the wise saying, ‘they say one good turn deserves another, page 64. This style emphasises the user's wisdom. This episode also includes a lot of personification. ‘Will it sting?’ page 61. ‘I said it would sting a little. ‘He immediately killed all the light in the suite, except the one in the bedroom. page 62. Irony also plays a role in this episode when Leo, the Liberian Mauler, says Dr. Afolabi is rude, even though he is the one who is abusive. ‘A brash brat here is asking for it. ‘Little boy, didn’t your mama tell you never to be rude to your superiors?’. Page 60. It's also ironic that it took Dr. Afolabi that long to recognise the woman being assaulted as Ms. Fiona, even though he guessed her age and came to meet her at the reception. The author uses the phrase...at such an ungodly hour... page 59. To refer to an unusually early or late time of day, as well as an idiomatic expression, '...ruffling their feathers. page 58. Which means to annoy or irritate someone, as well as to anger or upset someone. To challenge authority or the status quo in order to effect change, the idiom can be expressed as ruffle some feathers.

Role of Character in the Episode

Finally, Dr. Afolabi's role in this episode is to build the theme of secrecy and marriage, whereas Ms. Fiona McKenzie builds the theme of women's plight and workers subjected to poor working conditions. The theme of immorality was created by Leo the Liberian Mauler.

Continue reading Chapter Five Summaries and Analysis. Here